Anderson May Be Giving Pop A Chance With 'Language'

May 25, 1986|By Mary-Frances Emmons

While it may be surprising to see Laurie Anderson actually getting play on MTV, it's really not surprising at all that she's made a video -- or that it turns out to be such a good one. Anderson is a performance artist: For her, the visuals count as much as the music. In fact, Anderson's video, ''Language Is a Virus,'' is taken from her first feature film, Home of the Brave, a concert film in the vein of the Talking Heads' Stop Making Sense.

Borrowing its title from a line of William S. Burroughs' poetry, ''Language Is a Virus'' reveals a more playful Anderson, an Anderson apart from her more severely androgynous self. Her image is softened and more feminine here; with those deep dimples, Anderson actually looks kind of cute. Her talky style of singing, slower and less rigidly rhythmic than rap, is unchanged from past releases, but she's supported by more traditional, melodious back-up singers. ''Language Is a Virus'' is even danceable, if you like to dance to, say, the Tom Tom Club.

Anderson performs in and directed both Home of the Brave and ''Language Is a Virus,'' and the video bears the marks of her quirky but fascinating character. A giant screen serves as a stage backdrop, appearing sometimes as a TV, sometimes as a blank surface with a few words highlighted in white. Anderson uses silhouettes projected against the screen to seemingly add members to the ''cast'' on stage.

Laurie Anderson made a name for herself by adopting a style unlike anyone else's, a style that seemingly would keep her music out of the pop domain. ''Language Is a Virus,'' whether it was intended or not, looks as if it may be a crossover piece. It may not bring Anderson the same kind of critical acclaim she has enjoyed, but it may offer more financial rewards.

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''Revolution,'' the new video from the Cult, features yin and yang symbols, big floor pillows, incense, flowers and brocaded Nehru jackets. Sounds like a joke, right? Or maybe a rerun from Laugh-In? Nope, these guys are serious -- what's pathetic is that I'm not sure that they're aware how much their ''new psychedelia'' owes to other artists.

Lead singer Ian Astbury, 22, had the gall, or maybe just the lack of self-respect, to tell Creem magazine that he'd never heard of Jimi Hendrix until he was 18 or 19. Whether you believe that or not, it makes evident just how shallow his dedication to his chosen style really is.

This ''Revolution'' is about ''personal change, change within yourself,'' according to Astbury. He and guitarist Billy Duffy, formerly with Theater of Hate, were tired of the ''negativity of punk'' so they formed the Cult to spread peace and light in the modern world.

Combining studio footage with concert clips, ''Revolution'' shows Astbury in Sgt. Pepper period finery, astride a large yin-yang symbol painted on the floor. The other members of the band recline on cushions while smoky incense fills the room. The only things missing are headbands and lava lamps.

The Cult people can't seriously think that they're the first to espouse these ideals or these fashions. Either way, the band doesn't come close to, never mind surpass, the talents of its predecessors, so what's the point?

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I admit it. I was fooled. I don't know if I just wasn't paying attention or if Lou Reed's creative instincts are stronger than I gave him credit for -- probably the latter.

In last week's Mondo Video, I gave a quick review of Reed's new ''No Money Down.'' I described the action as taking place in one frame: a head-and- shoulders shot of Reed which turns into an artificial likeness of him. But take another look.

It never was Reed in this video at all -- it's a sophisticated mechanized model of Reed, a la the ones at Disney's Hall of Presidents. The dummy moves almost as naturally as a human; its eyes even blink behind Reed's trademark dark glasses. The lips aren't quite in sync with the lyrics, but close enough to fool the viewer.